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AMOW [A Matter of Weight] is a multi-format, site-specific contemporary circus project. At its core is a poetic-technical language of rigging household objects into interactive constellations, exploring what it means to feel at home today. The performance follows a lone character in a suspended home, reaching out to the outside world while being confronted by the ghost of the house itself—an invisible force that unravels the illusion of safety, exposing the cracks and hidden dangers both within and beyond its walls. Through this personal struggle, AMOW sheds light on urgent issues facing humanity today, such as displacement, ecological collapse, and the fragility of the systems we rely on.
In its performance, AMOW brings this struggle to life through a visceral interplay between the performer and the unstable environment. The house is a suspended structure—part shelter, part trap—that shifts unpredictably. Cabinets swing open, objects fall, ropes tighten or snap, forcing the performer to adapt in real-time. Hair suspension, aerial straps, and counterweight rigging transform the body’s relationship with gravity, amplifying the instability of the home. What first appears as a place of refuge becomes a space of confrontation, where every attempt to restore order leads to further collapse.
AMOW is performed in uninhabitable spaces—factories, theaters, forests—turning each site into a new version of the unraveling home. The interaction between the performer and the surroundings is immediate and raw; nothing is purely aesthetic, everything is functional. The house does not simply fall apart—it resists, deceives, and reacts. The audience witnesses not a choreography of control, but a continuous negotiation with forces beyond human grasp. This unpredictability makes each performance unique, shaped by the tensions between body, object, and gravity.
Through this journey, AMOW questions the myths of stability and control. It critiques the illusions of comfort that mask the hidden costs of modern life—whether environmental destruction, social alienation, or displacement. The house is not just a metaphor but a mechanism that exposes these fractures in real time.
Beyond the performance, AMOW extends into installations and material research, working with discarded household objects as both medium and subject. Broken furniture, outdated appliances, and abandoned materials—objects that once embodied domestic stability—are repurposed as dynamic elements within AMOW’s evolving landscapes. This is not an act of restoration but an excavation of absurdity: in an era where plastic has outlasted the natural, what we discard becomes the new raw material. These objects, stripped from their original context, expose the artificiality of what we consider natural, revealing a world where permanence is an illusion and obsolescence is built into the fabric of our homes.
